This post is the latest in our ongoing content collaboration with the fine folks at SonicBids. Enjoy!
You know the story: one fateful night at the local music hot spot, an up-and-coming local band is playing a show to a packed house. The place is going wild when suddenly, the crowd parts as a hot-shot record executive strolls in. The band plays their last song and starts packing when, out of nowhere, a sweaty, diamond-ring-encrusted hand is thrust into the face of the lead guitarist. It’s the hot-shot record executive, and he wants to offer the band a record deal. It could happen to you, right?
Don’t count on it!
The reality is, if your band isn’t very well known, there’s a slim chance of attracting a high-ranking record executive, producer, manager, agent, or any classic representative of the old music world. Instead of leaving your band’s success up to some fateful meeting, step back and think about who you already know or see often. If you’re an active musician working on making your presence known in your local scene, these eight people you probably already know can help you get your music into the right hands and keep your career in music rolling.
1. The barista at the local coffee shop
It doesn’t matter if you like coffee or coffee shops – the local coffee shop is going to attract local music lovers. There are probably lots of flyers for shows on the windows already. Next time you walk by or need a cup of coffee, introduce yourself to the baristas working. Mention your band, and ask if you can hang up flyers or leave a stack of CDs next time you stop in.
2. The DJ at your favorite college radio station or podcast
Spend a lot of time listening to college radio or podcasts? If they’re playing bands you like or similar-sounding bands to yours, stop listening and start communicating. The people DJing for college radio stations and podcasts are just like you: a fan of music. Find their contact info online and send them a short, polite message introducing yourself and your music. If they like what they hear, they might want to play you or introduce you to someone who can help you get your music heard.
3. The clerk at the music store
This might seem obvious, but it can be surprising how few musicians look to their local music stores for support. These people spend their lives buying, selling, sorting, and organizing music of all styles. If you need any sort of information, from cool bands or places to play to what’s happening this weekend, your local music store clerk probably knows more than he wishes he did!
4. The sound guy at the local venue
There might be no better resource for learning more about your local scene. If there’s a bar or club where you regularly see bands, chances are the sound guy has seen a hundred times more bands than you. Introduce yourself and your music, and the sound guy probably can point you to the venue’s talent buyer, introduce you to other similar bands, or just hip you to anything you might be interested in knowing about playing at that particular spot. All crucial info!
5. Your friend who runs an independent record label
Maybe you’re already out and about in the local music scene, and you happen to be friends with someone running his or her own independent label. You’d be surprised at how common this is! Whether or not the label puts out vinyl, CDs, cassettes, or even just digital, your friend might be willing to release your music if it fits the label’s style (and it’s good). It never hurts to ask. Even if your pal can’t or won’t release your stuff, he or she can point you towards other labels that might be interested and help you connect with other bands or musicians.
6. That Facebook friend who you know is a successful musician IRL
Facebook is breaking down more walls than ever, letting musicians connect with each other regardless of where they live in real life. If you’ve been on Facebook long enough, you’ve probably seen some well-known local musicians or even famous musicians come up in your feed as possible “friend” connections. Add them as friends and send them messages! Introduce yourself and your music, and let them know that you’re a fan of theirs. You might be amazed at the responses you get.
7. Your family
This might seem like a no-brainer (or totally embarrassing), but your family can be a surprising resource for advancing your music career. Keep them knowledgeable on your doings in the music world and invite them to performances, even if you know your dad won’t be moshing in a basement anytime soon. If you and your family have a decent relationship, they might mention you and your pursuits to someone who can help you down the line. Remember, you are being proactive. Swallow your pride and believe in your music!
8. People in the hallways at your rehearsal space
If you practice at a dedicated rehearsal space, chances are you aren’t alone. Next time you’re taking a break from your band or music, hang out in the halls and see who’s around and listen to what other bands are playing. Knock on the door after you hear some awesome band stop playing, and introduce yourself. Next time you talk to someone randomly as you walk to your space, politely let them know about you and your band.
Above all, don’t give up hope. For every person interested in your music, there might be 10 people that aren’t. Don’t worry about it. Keep spreading knowledge of your music, and keep meeting people. Sooner or later, someone who can help you will take notice.
Christopher DeArcangelis is an active musician and copywriter from Chicago. He writes songs, plays guitar, and sings vocals for the rock and roll band MAMA and is the founder of the creative agency Static Free Industries.
This post is the latest in our ongoing collaboration with SonicBids. Enjoy!
Haste makes waste in so many situations in life. That includes reaching out to the media to cover your band or contacting PR agencies to represent your band. You’d be surprised how a few small PR mistakes can make you (and your band) look like a great big dope. The good news is that these mistakes all come with easy fixes. If any or all of these apply to you, get to rectifyin’, yo!
1. Sloppy emails
If you reach out to a member of the media to cover your band, or to a publicist or a manager seeking representation, a bunch of spelling, punctuation, or grammar errors scream “amateur hour” at areally deafening volume. It takes just a few seconds to do a quick spell check or grammar scan. Double check before you hit that send button. It’s only a moment, but it makes a world of difference.
Remember, if you’re reaching out to the media, these are people who traffic in words and content all day, every day. They’re going to be the first to notice that you used “it’s” when you really meant “its.” So don’t start out on the wrong grammatical foot. It makes you look sloppy and unseasoned.
2. Acting too casual with an industry person you don’t (or barely) know
Whether you’re sending out a cold email, or even an email to someone you actually met and exchanged business cards with, using a super casual “hey” greeting and/or not addressing people by their first name comes across as rude, lacking tact, and totally unprofessional. Demonstrating confidence with a “bro” tone is not your goal here. Being courteous and professional is your goal.
If I get an email from someone with an unfriendly, boorish, or super pushy tone, I don’t even bother to respond, as both a publicist and as a writer. So don’t be rude or curt. Get in and get out, but do it with niceness.
3. Poor-quality assets (or none at all)
I’ve gone to fact-check info, such as band member last names and positions, and I’m routinely shocked when I can’t even get a proper band member listing from a Facebook page. Come on, guys! That’s basic stuff right there. Get with it.
Make sure your website has a fresh, visually appealing skin. Your official site (and yes, you should have one of those), your social media pages, and your EPK should be up to date and have all the proper info, like your bio, your band members and their roles in the band, and contact info. Everything should be easy to find. If you don’t even tell people visiting your page who does what in the band, you’re wasting their precious time, and they may say, “To hell with it!” and move on if they can’t find what they’re looking for.
4. TMI social media presence
Don’t let your band’s social media presence become a hub of personal information or TMI posts, unless you’re really engaging with a fan club, hosting some sort of contest, or sharing a deep connection with fans. If you want your fans to know you on that level, fine. But be careful with how much access you allow.
Basically, just don’t act a fool on band properties. Save the drama and silly stuff for your personal feed… but with discretion.
Amy Sciarretto has 20 years of print and online bylines, from Kerrang to Spin.com to Revolver toBustle, covering music, beauty, and fashion. After 12 years doing radio and publicity at Roadrunner Records, she now fronts Atom Splitter PR, her own boutique PR firm, which has over 30 clients. She also is active in animal charity and rescue.
We received a lot of emails at Haulix from labels, publicists, and bands alike hoping to learn a few additional tricks or tips for better exposing whatever music they are working at that particular moment. We do our best to help everyone that comes to us, and we would hope many of you would respond in a similar manner, but recently we were contacted by someone seeking additional press who seemed to completely misunderstand what it is they needed in their career.
While coverage on blogs and in print is always helpful, it is not something every artist needs in order to be a success. In fact, history is littered with brilliant minds who lead long career in the arts without ever having a number one song or a feature in Billboard magazine. They probably wanted those things, of course, but in the long run they were not an essential part of a healthy career in entertainment.
So here’s what happened:
A call came in this week from an industry contact who shall remain nameless. During our chat, the person who called explained how they were running a label where almost every cost was covered by two very successful electronic artists. These artists have made literally millions of dollars from licensing and placements in everything from movies, to TV shows, advertisements, and even video games. They have been making money this way for years, all while continuing to release new music, but for one reason or another their label had struggled to garner much, if any, traction in the world of music journalism. Their artists were labeled as too electronic for rock blogs, but too rock driven for electronic blog, which left them feeling as if there were no place for them in the modern music business.
While we sympathized with the label owner and how he felt his artists were basically successful outcasts, we also felt that somewhere along the line the label owner had forgotten the point of press. Getting mentions on blogs and in magazines is something done by artists and their representation in order to generate more excitement for an upcoming release. While we could debate all day over the effectiveness of mentions on top music blogs as it relates to sales, the fact of the matter is that in this unique case the artists going uncovered by most members of the music journalism community had long proven their ability to financially succeed in the industry. They don’t need music blogs, or even music magazine to care about their efforts because clearly there is already a well-established demand for new content from them by people who have the power to make sure the artists in question can pay their bills (as well as the bills of their label).
If you or someone your represent are working full time on creating art, and by that I mean living a life that is not dependent on a second source of income, we urge you to not allow yourself to be frustrated if members of the journalism community do not take notice of those efforts. Just because someone with a blog or byline does not see the talent you or your artist possesses does not mean everyone else who has supported that act up to this point is somehow wrong or misguided. Headlines will come in time, but if you’re already paying your bills with music then you’ve already won the game of existing in this industry. You’ve reached a point of success most will never know, and you cannot allow the fact some teens and/or twenty-somethings don’t ‘get it’ hold you back. You don’t need them.
The following is another post from our ongoing collaboration with the fine folks at SonicBids.
As a musician, there are plenty of things you can do to further your career. But do you know which things you shouldn’t waste time on, since they end up being futile? They might seem like good ideas on paper, and well, they might be on some level. But if they don’t really benefit your endgame when you’re trying to build from the ground up, and if they aren’t doing much to advance your career, then don’t waste the minutes or the energy. Time is finite, so you have to use it wisely and make sure that every second parsed out for a promotional push is effective.
1. Care what people outside of your target audience think
You need to cater to your fans and your scene. Wasting too much time worrying about what otherdemographics or fans of other genres think isn’t productive. Don’t spend time trying to convince those who don’t like your music to like your music. Don’t try to foist it or force it on ‘em. That only annoys people and creates an atmosphere of resentment. Foster the fans that already exist and build on that base, and forget the rest. You don’t want to get lost in the ether of trying to serve an audience that doesn’t care.
2. Play a free show that doesn’t benefit your career in a “big picture” way
Playing a show for free that is sponsored by a major editorial, radio, press, or instrument partner can open up doors of exposure and support, be it in print, on air, financially, or otherwise. Playing a gratis show for a charity or good cause is also beyond fine, wise, smart, and acceptable. Those are things you should do to build your reputation, for good karma, and because helping others is always rad.
But playing a free show just ‘cuz is useless. A free show needs to be a resume builder. If it’s sponsored by Facebook, Decibel, Converse, or whatever, then do it. The benefits and “bigger picture” nature make it worth foregoing a fee. If there is no bigger picture goal serviced by the free show, though, then you have to move right along. Freebies aren’t copious.
3. Copy-and-paste dozens of impersonal pitches
Sending out a bunch of non-personal queries or SoundCloud links to music industry folks, like writers or label reps, or to potential fans on Facebook, is the digital age equivalent of standing outside of a show and giving someone a burned CD in a plastic sandwich bag. If these people don’t know you and you don’t know them, they likely won’t reply, due to the fact that 900 other bands are doing the same thing and getting the same (lack of) response.
This approach comes across like spam. It’s not a wise use of your time. You should target people who are casual fans or “weak tie” connections, and do what you can to further deepen that connection. Make it personal.
4. Seek PR or management before you’re ready
Many bands that are in their infancy stages seek me out regarding PR. They can’t afford it, and they don’t know what it entails or means. They don’t have a manager to… manage expectations. But it’s also because they aren’t ready for these things. They’ve played maybe five shows. They don’t have a release plan. The conversation usually trails off because there is a lot of hand-holding and consulting needed.
I tell them they need to focus on songs, the live show, and the local buzz. Once you have a solid system in place, then you’re ready to seek out representation in the PR world and in the management world.
Amy Sciarretto has 20 years of print and online bylines, from Kerrang to Spin.com to Revolver toBustle, covering music, beauty, and fashion. After 12 years doing radio and publicity at Roadrunner Records, she now fronts Atom Splitter PR, her own boutique PR firm, which has over 30 clients. She also is active in animal charity and rescue.
Steven LaClair, founder and editor for Nothing Original, joins us today to share some thoughts on email, publicity, and why many in the industry need to think about the way they communicate with music bloggers/journalists.
The time I have available to spend blogging about music has decreased dramatically over the last three years. There was a time when I could wake up at 8am, catch up on any emails I received during the night, respond, and post accordingly in a surprisingly small amount of time. Sadly, that is not the case anymore. It’s a full-time job trying to keep up on the world of music. The news cycle never stops, and falling behind can be detrimental to a blog. When I decided working 15-18 hours a day for a few dollars wasn’t worth it compared to a full-time job, I scaled everything I did back and believed I could still make my site, Nothing Original, work. I was dead wrong.
I always preferred to have a constant flow of fresh content on Nothing Original. I’d consider it a good day if I could get post somewhere around 10 articles, if not more. Going through emails and albums trying to figure out what I care about and what I think my readers would care about was fun, but it took a toll on me day after day. I kept at it though, because I love writing about music and I love sharing my opinions on music with others. I wish I could still do it, but there’s only so much time in a day. When I do have the time, I open up my email to over a hundred pitches that are a mix of press releases, requests, album advances, and whatever else a publicist or band is trying to get posted that day. It’s simply overwhelming.
Some publicists share three to four press releases a day, if not more based on the amount of clients they have and the number of releases being worked on that particular day. With ten or more publicists doing the same thing I’m receiving well over fifty emails daily, which makes determining what’s worth posting incredibly difficult, and that is before I scan the net for stories or streams I may not have been directly pitched. I have to figure out what is the best material to post and then find a way to say it that actually engages an audience that is already inundated with an untold number of headlines, advertisements, and clickbait-readied tweets before myself or the Nothing Original team even make an attempt at grabbing their attention, and I have to do all that in a very little amount of time. There is no possible way to make every publicist and every reader happy, but I do my best. Still, even on the good weeks, a lot of potentially great material gets discarded.
This is not the way writers should feel about receiving email. The idea of checking for pitches should not incite an overwhelming sense of anxiety or stress, but it does and that can lead one to wonder why they bother trying to be a writer at all. Most of us only have so much time in a day, and when we spend half of it going through just emails on things that honestly don’t really matter. What makes the first pitch from a publicist on a particular client different than the four follow-ups they send in the next two days? Writers cannot meet every request, and if we’re going to meet any while delivering quality content to our readers then writers’ schedules needs to be considered. I’m not asking for a world where we only receive one email a day, but I am asking for those pitching writers to be more considerate in the amount of content they shovel our way. Make the headline grab our attention, ensure the content is remotely interesting and keep it short. Also, don’t follow-up more than once in 48 hours.
I love writing about music and I wish I had more time to do it, but the truth of the matter is that adulthood and the responsibilities that come with it make writing for next to nothing a hard hobby to justify. When I do have the time, I wish looking through requests wasn’t a chore. Let us care about your band. Make each band try and seem special to you. Making them feel special to you will make the band feel important to us and then hopefully we can write about it. Make your emails and requests count. I can’t meet them all, but I’d like to at least try.
If there is one thing we can probably all agree on about life on the internet it’s that those who fuel the content generation machines that keep the web buzzing with viral sensations love nothing more than drama. It can come in any form, from political to celebrity, as long as its captured on camera or in sound bites. Those bits of media are then uploaded, streamed, remixed, and shared on a plethora of clickbait hungry blogs hoping to grab a few more easy clicks from someone else’s pain. It’s a long-running and admittedly sick trend, but a trend nonetheless, and earlier today one of metal’s best underground acts were found cashing on our collective love for all things dramatic.
Partnering with the fine editorial team at Faster Louder, the member of Thy Art Is Murder released a collaborative feature on the popular music blog detailing the best and worst bands they have toured with up to this point. The list named several artists, praising some and trashing others, all with seemingly no concern for public or professional backlash that may occur. The band highlights 3 genre peers as being ’the worst,’ each of whom have fans around the globe and international touring experience, as well as 3 they consider ‘the best.’ While those regarded in high standing are certainly given some well-deserved praise, the acts the band chooses to look down upon are essentially bullied for an entire paragraph. Volumes, for instance, are referred to as follows:
The “homies.” The billionaire rich kids. Their dad is like some Grammy-award winning producer. Fully don’t like these dudes that much. The last time I saw the singer I told him I was going to beat him up, real bad, to his face.
There is also an allegation of wrongdoing on the part of someone associated with the band, as well as a story of a near physical altercation from a previous tour.
The band given the worst treatment is Within The Ruins, a metalcore act found on Victory Records, who Thy Art Is Murder claim “fully suck.”
While there is certainly nothing wrong with having an opinion or sharing it, the members of Thy Art Is Murder are not doing themselves any favors by conveying their thoughts and feelings in this way. The band comes across as bullies at best, and at worst they appear to be cocky assholes who believe the best way to raise awareness for what they are doing is by stepping on bands who have shared time with them on the road. Nothing could be farther from the truth however, as it is the bonds built through working in music that ultimately propel artists and professionals forward. The music community is surprisingly small, and everyone knows someone who knows everyone else. When you talk poorly or act out of line towards someone or some group, there are repercussions down the line the offender may have never thought possible. Maybe the person who books Within The Ruins also heads up a major festival that now will never work with Thy Art Is Murder, or perhaps they rep a band that would have otherwise served as a perfect tour pairing. Now the possibility of that happening is gone, and for what? A few clicks?
If I had a say in the happenings of Thy Art Is Murder I would urge them to consider finding a new publicist, as the person who encouraged them to create this feature obviously did not have their best interest in mind. The popularity of their rant against other bands will fade within a day, but the damage done from trashing their peers may linger for the rest of their career. The situation could be made better with an apology, but given the brash way the band described those they consider ‘the worst’ I doubt we will be hearing anything akin to “sorry” from them in the near future.
Let this be a lesson to all artists: Tearing one another down is never going to help you get ahead. You might grab a few fleeting bits of attention, but the longterm impact of publicized negativity is rarely good for business. As your mother always said, “If you don’t have anything nice to say then don’t say a word.”
James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.
This post is brought to you by the fine folks at SonicBids.
Hiring a music publicist isn’t the same as waving a magic wand and boom! you’re famous. Your music is the ultimate tool, along with touring and activity. Those are tools with which your publicist gets his or her work done. But if the music isn’t good, or if there’s no ancillary activity, no amount of publicist cheerleading is going to make a monster difference or move the needle. Or you could have awesome music, but if you don’t promote it properly, then it will not find its audience. There are lots of moving parts that have to work in concert. Here are seven problems a music publicist won’t solve for your band, unfortunately.
1. Your lack of fans
Publicists will find you media champions and supporters. They’ll get your name out there in all forms of media and help it become more widely recognized, which leads to fans. But again, the most important thing is the music. If it’s terrible, no amount of “rah rah rah!” will turn heads.
2. Your need for a manager
That’s putting the cart before the horse. I have had tons of bands contact me saying they were told to get a publicist and then everything else will follow. Nope, sorry. That’s just not how it works. You need a manager running the whole show first; publicity is part of that show, which is overseen by a manager.
Press coverage is hopefully the endgame, sure, but everything else has to fall in line, like good touring, a good work ethic, and a good buzz. Publicists ensure that the media at least opens an email or listens to a pitch about your band, but they cannot guarantee the media will love you or cover you. They will do the heavy lifting and use their relationships to get you in front of the media. As a writer, I have had good publicists push garbage and drek. And no matter how much I love them or their tenacity, if the music is shit, it’s shit.
4. Your low attendance rates at gigs
Your draw isn’t really our problem. We get the media writing about, attending, or covering your shows. We don’t deal with the fans. The fans get their information from the media.
5. Your desire for only “good ink”
Publicists generate buzz, that’s for sure. They will talk to as many members of the media as they can to get your name familiar and repeated in publications, online, and more. But they will not be able to direct the buzz being good or bad. If the media ain’t feeling it, publicists can only resort to finding a positive spin. It’s not their job to put out the flames if the music isn’t strong enough to stand on its own.
6. Your need for a scapegoat
My PR pals and I always joke about this. A publicist is always the person to blame when something goes wrong. I’ve seen it happen. But you know what? The publicist is always the first line of defense. You can’t lay the blame at his or her door if the media doesn’t react, if you’re not touring, etc.
7. Creating a buzz when you’re not doing something buzzworthy
You have to have an album come out, a tour, content, ideas, and a constant flow of activity. Without those tools, a publicist doesn’t have much to work with in terms of getting media attention.
Remember, nothing about music PR is instant. Pitching, following up, and executing a press plan takes time, tenacity, and effort. There is no instant snapping of fingers. All hands have to be on deck, including your own. Publicists lead the charge, but they do so with the entire team grinding its gears. That starts and ends with you as an artist.
Amy Sciarretto has 20 years of print and online bylines, from Kerrang to Spin.com to Revolver toBustle, covering music, beauty, and fashion. After 12 years doing radio and publicity at Roadrunner Records, she now fronts Atom Splitter PR, her own boutique PR firm, which has over 30 clients. She also is active in animal charity and rescue.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2015. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: The Culture Marketing Specialist (CMS) is responsible for driving the development and execution of Culture Marketing programs, Culture events, identifying and supporting Third Party events and the tracking and managing of the use of multiple Red Bull marketing assets for the Business Unit (BU) as directed by the Culture Marketing Manager (CMM) and working closely with Culture Event Marketing Managers (CEMMs). The CMS will also serve as a project leader for selected Culture Marketing projects, interfacing with all key stakeholders to maximize the impact and leverage of assigned marketing properties to achieve targets. Responsibilities include all elements of project execution from concept, creative development, planning, execution and evaluation. This role will manage and coordinate agencies, partners and suppliers.
Job summary: We are moving from pioneering to leading via brand storytelling this is simple, visual and radical. We tell our stories in places and contexts that are bold, progressive and capable of carrying the brand story with conviction and clarity. Quality matters more than quantity. We are looking for a Campaign and Media Director for the AMPAC region that is passionate and ready to help us lead in this audio revolution.
Job summary: The iHeart Media Account Executive will identify and solicit new business; service and grow existing account. They are responsible for developing persuasive proposals in response to client needs and/or opportunities. They will guide their clients based on market, platform or station information. They are responsible for ensuring client satisfaction through cooperative communication. They will also negotiate rates consistent with iHeart Media operating goals and budgets and ensure prompt payment. They will utilize all available iHeart Media resources to create effective marketing campaigns.
Job summary: O-Town Music Group is seeking an Artist & Repitoire Manager. A&R Managers are creative people with good business skills and a solid understanding of the music marketplace. It is not enough to like the music, an A&R Manager needs an excellent knowledge of the contemporary music scene and to understand what sells.
Job summary: The Music/Production Coordinator reports to the Vice President for Artistic Administration. Primary responsibilities include, but are not limited to scheduling and budgeting music events, as well as artist relations.
Job summary: The Administrative Assistant, Publicity is responsible for providing administrative support to the Publicity department at Columbia Records. The Assistant will help to ensure the efficient day-to-day operation of the Publicity department at Columbia Records by successfully accomplishing the following responsibilities:
Job summary: Independent music label seeking highly motivated publicist candidate with existing pr experience in the music industry This is a full time position to start soon. Candidate must be highly motivated, self-sufficient, pro-active, and a great communicator who possess the ability to think outside the box and is tenacious. The ideal candidate should be very social, have strong relationships with all forms of media including online, blogs, print and TV a must. Must come with a deep list of contacts and relationships. Must have a minimum of at least 7-10 years of full time experience and relationships in the entertainment pr field.
Job summary: Naxos of America is hiring a full-time Assistant Publicist in Franklin, TN. Our PR/Social Media team is based in our office near downtown Franklin TN, with our Director of Media Relations splitting time between NYC and Toronto. Our team handles all press and promotion, social media, media partnerships, and online branding/marketing campaigns for our very full schedule of releases.
Job summary: We are currently on the lookout for a dynamic content producer with a passion for music and culture that will support editorial team creating and producing digital content for a global lifestyle brand.
Job summary: The Promotions Assistant will assist in the execution of station events and promotions. The Promotions Assistant will interact with listeners at concerts, promotions and other events while representing the station in a professional manner. If you have an outgoing personality, love dealing with the public, and have a desire to get into the exciting career or radio this is the position for you. Assist Promotions and/or Marketing Director in executing station marketing and promotional initiatives. Oversees on-site promotional activities.
Job summary: IGA is currently searching to fill a new role in our A&R Administration and Business Affairs team. The position will perform a variety of duties, that will be providing key assistance to the Head of A&R Administration. The candidate for this job must liaise with all levels of departments at the label and corporate parent, including Business Affairs, Production, A&R, Marketing, Licensing, etc. to help assist with the release of music and videos by label artists. This position has a strong focus on clearances and problem solving, and doing the necessary work to help accomplish the goals of the label and its artists.
Job summary: Under the direct supervision of the Summer Programs Enrollment and Marketing Managers the Marketing and Communications Assistant coordinates front-line staff and secures complete and effective marketing programs. The position also fields tasks directly from Marketing and Communication Managers.
Job summary: This role requires the ability to quickly and effectively execute workflows in a fast paced environment and will report to the CEO and Senior Vice President. An existing list of music and lifestyle media contacts is required. Applicant must have strong communication skills and a high attention to detail.
Job summary: Primary duty is to develop and manage all station promotions and contests. Uses independent judgment and discretion to create; plan and oversee remote promotions. May Supervise and regularly direct the work of Promotions staff. May also function as a Marketing Director.
Job summary: The successful candidate will handle the scheduling, publicity, and on site production of events at Lang Concert Hall, and provide support for other Music Program performances and events in Lang Music Building. This includes publicity, audio/video setup, program production (layout, printing, and compilation of program notes), and the hiring of student workers (house manager, ushers, stage crew, technical crew) for each event. The Concert and Production Manager also maintains the space reservation calendar for Lang Music Building and works with faculty, staff, and students to find suitable spaces for rehearsals and events.The successful candidate will maintain space use guidelines for Lang Music Building. The Concert and Production Manager will coordinate with the Facilities department to schedule maintenance and upgrades to the building and with a piano technician to arrange maintenance of our instruments. The successful candidate will also attend a biweekly meeting with members of related departments on campus (hosted by Public Safety) to discuss upcoming events and coordinate space use.
Job summary: A not-for-profit organization, Music Before 1800 is the longest-running early music concert series in New York City, having presented vocal and instrumental chamber music at Corpus Christi Church for 40 years.
Job summary: The Publicity Assistant is responsible for providing confidential administrative support to the West Coast Publicity Development at RCA Records. The assistant is also responsible for ensuring the efficient day-to-day running of both departments; building and maintaining relationships with the artists, managers, press, production companies, as well as executives within the company.
Job summary: The Manager of Publicity will work full-time in our Weehawken, NJ office and alongside our music and comedy publicists on all campaigns. The ideal candidate should should be a strong writer, have 3-5 years of publicity experience in the entertainment industry, and have established relationships with journalists, editors, bloggers, bookers, etc. Applicants should be very detail-oriented, organized, and able to multi-task. A strong passion for music and comedy, as well as the ability to thrive in a fast-paced, energetic environment are a must.
Job summary: TrendKite helps PR professionals and agencies build a timely, highly accurate picture of their brands’ media coverage with ease. We are an innovative platform that is transforming how companies like BP, Pinterest, Campbell’s Soup, and CDC measure the impact of earned media. We are a venture backed, high traction startup that is disrupting a huge existing market.
Job summary: The Vice President, Customer Relationship Marketing is responsible for creating and planning integrated marketing programs that drive business growth through the entire consumer journey – email, direct mail, statements, websites, loyalty programs and social marketing. This person will be responsible for building and leading a team of experts in CRM and automation. In addition, the VP, CRM will implement direct marketing programs designed to generate the profitable acquisition of new customers.
Job summary: As an Artist Marketing Associate you will support marketing strategy and execution for the Artist Marketing Platform, Pandora’s artist-facing suite of insights, promotion tools and experiences. You will work with cross-functional team members from industry relations, events, corporate strategy, marketing, product management, design, engineering, communications, and more. We are seeking candidates with expertise in the music industry who possess exceptional skills in product marketing, go-to-market execution, communication and project management.
Job summary: Experienced agency/client engagement, B2B marketing + communications professional needed to execute various high-level client programs and other marketing initiatives within the Advertising Industry. Must have deep understanding of Advertising Industry and Agency Landscape. Reports into the Vice President of Client Relations + Industry Marketing.
You will be tasked with guiding our opportunity owners through the listing creation process, ensuring that each listing meets the quality standards we’ve set here at Sonicbids. You will be responsible for providing guidance through the listing creation process, and provide feedback to our product team to ensure the listing creation process is as efficient as possible.
Job summary: If you have a knack for forging consensus in a creative environment…If you’re a fearless, thick-skinned communicator who can defend your ideas in a group setting…If you’re an energetic self-starter who has superb time management and prioritizing skills……we want you to apply today! Consider joining the team that markets artist such as Carrie Underwood, Garth Brooks, Kenny Chesney and Miranda Lambert.
Job summary: The Creed Company is seeking a mid to high level Digital Marketing Manager to oversee social media presences of artist across the entire roster and develop, communicate and execute strategic digital campaigns.
Job summary: Reporting to the Publicist, is responsible for coordinating and executing publicity programs and campaigns for eOne Films ensuring that these publicity activities are in-line with the corporate strategy to achieve the company’s annual goals. This position is responsible for the timely execution of all publicity and social media campaigns for all eOne Films titles. Further, this position will also act as a liaison, between the Marketing team and other departments, as well as clients and the media.
Job summary: Listen Up US is hiring a Press Officer. We are seeking someone with 2 or more years experience in music publicity and an extremely solid grasp of electronic music and media. The candidate must have established relationships with media across all levels of print and online (news, specialist, lifestyle, national, regional, etc). The candidate must also be experienced handling tour press, as well as national press and be willing and able to work onsite at events when needed.
Job summary: We are seeking a VP Business Affairs Manager; an executive C-Level officer of the Company. The VP Business Affairs Manager will be primarily responsible for negotiating development and production deals, in connection with both scripted and unscripted programming. Negotiations will include, but not limited to, the following: talent, writers, producers, underlying rights, license agreements, co-productions, digital media, etc. This individual will report to the Chief Marketing and Brand Officer (CMO).
Job summary: To efficiently and effectively manage all aspects of online marketing for an assigned roster of projects. Liase with the marketing, press, and digital sales departments in the company (and any hired, third party companies) in conjunction with ADA distributed third party labels to maximize the potential for each project’s success. To find innovative and cost effective ways to brand ADA artists with associated online partners, including content development and management, grassroots community building and marketing, tastemaker sites, and genre-related digital marketing lifestyle outlets.
Job summary: Reporting to the Director, Client Relations, Manager, the Client Relations will be based out of our New York City office. The position will act as a relationship, content, & campaign manager for frontline and new release label clients. The ideal candidate has a strong understanding of what drives a successful album campaign via previous distribution, label, or management experience, and is able to leverage Orchard services to guide label’s new release campaign goals. They are smart, focused, analytical, tech savy, fun, and live and breathe independent music.
Job summary: Develops and executes logistics related to Compassion owned music tours. Creates, organizes, negotiates, and executes 6-8 Compassion tours each fiscal year. Plans long-term touring strategies for Compassion and manages the usage and storage of Compassion’s production equipment. Drives growth along all product lines and strives for a sponsorship goal of 5,500 annually. Manages, builds, and mobilizes a team of tour professionals, artists, booking agents, and artist managers in order to meet Compassion’s revenue goals.
Job summary: Downtown Records is looking for a Content Strategist to help our artists craft content marketing campaigns as wicked as the music they create. This is a great opportunity for a music lover with a keen eye for the best content on the internet.
Job summary: Rowman & Littlefield is seeking an experienced Acquisitions Editor to assume responsibility for its list of music titles which includes general interest, college text, reference, and professional titles.
Job summary: With its broad roster of new stars and legendary artists, Warner Music Group is home to a collection of the best-known record labels in the music industry including Asylum, Atlantic, Cordless, East West, Elektra, Nonesuch, Reprise, Rhino, Roadrunner, Rykodisc, Sire, Warner Bros. and Word, as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide.
Job summary: SoundExchange Regional Reps should be the “it person” or “key tastemaker” in their local music scene and be heavily involved in many campus and community activities. The SoundExchange Regional Representative Program is designed to deepen your understanding of and exposure to the current music industry with a focus on the digital space. It is an opportunity to take that first step in establishing yourself in the music and entertainment business. As a college representative you will be expected to dedicate approximately 10 hours per week to interact with the music community within your immediate environment to assure high awareness for SoundExchange.
Job summary: The main job is picking acts that will be successful and then working with the act to find the right producers and writers. The process is very much a nurturing one to ensure the band or solo artist impacts at the right time with the right material. Besides scouting for new artist the a&r manager also manages the current roster of artist. Duties include booking performances for artist, updating social media for artist,booking tv appearances and publicity for artist, booking recording studios for artist and much more.
Job summary: The Marketing Associate will be responsible for helping to drive listener growth and engagement through various marketing programs. The ideal candidate will be metrics-driven and will have experience trafficking, managing and optimizing various marketing campaigns from email to paid mobile ad network and social media buys.
Job summary: The National Project Manager (NPM) is responsible for the creation and management of new and existing sales and promotional objectives for national clients in multiple markets. The NPM will also assist National Account Executives in securing new business by developing promotional concepts that align with station partnerships. Candidates should have experience with promotions, vendor negotiations, contesting and events.
Job summary: The ideal candidate for this position will be motivated to become an active part of the team to accelerate company growth, contribute to the continued expansion of the company and client roster, be extremely organized, and should be capable of multitasking and handling multiple deadlines simultaneously. Candidate should have 5+ years of experience in a related field with a portfolio of proven accomplishments and a strong work ethic.
Job summary: The Account Director will manage business plan for designated high volume/visibility digital and mobile accounts, including development and execution of sales and marketing campaigns and goals. This person will manage excellent relationships with digital and mobile accounts, be able to hit sales objectives and create incremental sales objectives and opportunities. Sales and marketing will involve all facets of UMG digital and mobile products.
Job summary: We currently seek a Customer Success Manager to drive the refinement, execution and tracking of our customer success program. The Customer Success Manager will serve as an advisor to our users, helping them solve their toughest recruiting and booking challenges through quantitative insight and performance metric tracking. In addition, this role will evangelize our product and develop engaging and entertaining content that helps sustain customer engagement over the course of time.
Job summary: The Vice President, Industry Relations will assist the Vice President of Booking in generating programming opportunities at Barclays Center and other affiliated properties. The incumbent must have a proven track record of booking high profile events and developing, cultivating, and maintaining strong industry relationships. The incumbent must be a self-starter with superior communication skills and strong independent reasoning and problem solving skills. This position plays a vital role in the company’s growth, therefore, the incumbent must be able to anticipate needs, think proactively and suggest new ways to contribute to the department and organization’s mission, while maintaining a positive attitude. The incumbent will serve as a liaison between the venue(s) and promoters, agents, and managers based primarily on the west coast and will be able to work long, flexible hours, including different time zones (EST). The position reports directly to the Vice President of Booking.
Job summary: You will be central to providing our partners with the information and support they need to effectively use our real-time platform. A principal component of the role is working with teams across the company to anticipate and address both the routine and uniquely complex needs of musicians and partners we work with. Another will be to use internal tools to identify meaningful metrics to prepare then present to our partners.
Job summary: The Tour/Production Associate will sit within the Global Touring and Global Attractions divisions of IMG Artists. The roles purpose involves the servicing and logistics coordination of concert dates, performances and tours worldwide for a variety of dance companies, attractions (world music, musical ensembles, theatrical attractions, etc.), film with orchestra projects, and symphony pops, and individual artists involving ongoing touring activities, individual dates and extensive tours as well as servicing the day-to-day activities of a wide variety of artists.
Job summary: Unit Job SummaryThe Performance Program Coordinator provides scheduling and logistical support for the Department of Music Performance Program and its sixteen ensembles for their concert performances and other activities across campus.
Job summary: In partnership with the Executive Director, the Membership and Programming Coordinator has responsibility for achieving planned and budgeted objectives of the organization and providing day-to-day coordination in five key areas.
Job summary: Dead Horse Branding is a branding agency with very highly skilled and versatile representatives. We are after a team member who has experience in Marketing, Publicity and Sales. The three essential skills you need to successfuly complete either one of those jobs.
Job summary: This position is responsible for developing music marketing strategies, tactics, and programs in direct partnership with music content providers for iTunes and Apple’s streaming music products as a leader of the music marketing team. These programs and campaigns will be well-integrated with, and driven in part by domestic and international priorities established by iTunes Label Relations, Music Programming, iTunes Marketing, Product Marketing, Sales & Marketing and Apple Marketing Communications teams. This position and team will focus on best-practices, priority and special projects across the music industry and across media verticals where music is a key component.
Job summary: Middle West is in search of a driven full-time day-to-day assistant to work with its Minneapolis-based managers. Ideally, applicants should be Twin Cities-based or willing to relocate.
Job summary: Sony Corporation of America (SCA) is seeking a Marketing Specialist to join the Customer Journey and Cross Marketing group. This position will be located in San Diego, CA. The primary responsibility for this position is to execute CRM programs across several Sony business units to drive revenue, increase engagement and build proof points for global program roll out. The marketing specialist will use first party data to better create, target and measure customized consumer experiences that drive loyalty and customer value. This position requires good organization skills and the ability to handle many projects simultaneously to meet deadlines. The Marketing Specialist must work with many individuals across Sony as well as with outside partners and Sony business units.
Job summary: CraveOnline is seeking an Integrated Marketing Coordinator to join a high-energy, collaborative team of designers, marketing specialists, developers and project managers to manage and to facilitate the creation of integrated marketing campaigns across several sites. We are focused on providing integrated and innovative experiences to our clients. The Integrated Marketing Coordinator is based in NY and reports to the Senior Director, Integrated Marketing who is based in NY.
Job summary: The Coordinator of CRM Analytics’ primary role is to support the practice of WMG’s CRM analytics and strategic planning operation. Sitting on the team’s CRM Analytics group, the Coordinator’s primary duties include independently managing a variety of day-to-day activity of key CRM projects and operational support for analytics programs, specifically but not limited to: Design and documentation of analytics processes and operations, critical support to develop meaning analysis for global consumer marketing teams, and day-to-day analytics and marketing technology support. This person is entrepreneurial-minded and technically savvy who does not mind digging deep into the technologies or data, as well as exercises excellent communication skills and the ability to multitask across multiple projects.
Job summary: Join the Boston Symphony, in a dynamic position as the Associate Director, E-Commerce and New Media that encompasses the management, implementation and creation of all internet and New Media platforms. You will be responsible for supporting the overall marketing strategy by utilizing a variety of online and media platforms to enhance the corporate brand, explore new initiatives and enhance revenue content opportunities. To be successful, you will need to be a creative self-starter who can analyze and adapt new technologies and strategies to support the overall organizational goals.
Job summary: Key administrative support person for day-to-day digital marketing in the Digital Media & eCommerce department, focused primarily (but not exclusively) on our broad “urban” roster of artists, covering rap, hip hop, R&B, and beyond. Experience in community development, editorial/content and marketing support. The ideal candidate is interested in the intersection between consumer online behavior, music and technology. This person reads blogs (tech / entertainment / lifestyle), installs every new app just to try it out, and has a passion for leveraging the Internet to drive artist careers and revenue. They live on social media, lifestyle blogs, and discover new music in interesting ways.
Job summary: We are hiring a person, not a position, for the Sound Productions marketing team. We believe in providing every tool and opportunity to our team members and growing them for success. We don’t have employees, only team members, and are very proud of that. We invest in each of our highly effective and talented team members for their professional growth and aligned goals with the other Sound Pro teams.
Job summary: Our Seattle, WA-based client produces pro-audio and music products with brands known worldwide! The company is currently expanding their product lines, incorporating mobile devices and cross-platform UI applications within specific digital products. If you love music (or the technology around making music) and have experience building mobile apps (iOS/Android) you will love joining their engineering team.
Job summary: While iHeartMedia employs over 20 thousand worldwide, the iHeartRadio Division based in New York City runs more like a startup. We are looking for a Director of Digital Monetization to serve as the key touch point between our digital product and national sales teams. This role will be instrumental in identifying digital revenue opportunities and developing our go-to-market strategies. You will work with a variety of key teams including editorial, programming, operations, sales and marketing groups and have the opportunity to meaningfully impact the revenue line of a growing organization.
Job summary: The VP of Consumer Marketing is responsible for planning and implementing off-channel marketing campaigns for MTV. With a key focus on innovation in the marketing space, this position will manage the development of campaigns in support of all priority programming and events. The ideal candidate will actively employ data to inform the planning process, and to ensure that all plans have clear goals, and the creative approach needed to achieve them.
Job summary: This successful sponsorship sales professional will be responsible for creating and selling branded, high-impact music marketing programs across our music properties.
Job summary: The Marketing Coordinator will be accountable for leading the development of the venue’s event and marketing program that includes new innovative ideas, talent recommendations, marketing partnerships, promotional activities, advertising recommendations, and VIP Host, social media and public relations coordination. This position will also execute the events and programs on-site. In addition, the Marketing Coordinator will be very creative and will find ways to increase customer spend and find new sources of business. The Marketing Coordinator will be responsible for the over-site of the venue’s brand, including market position against competitors.
Job summary: The Interactive Marketing Manager will be the main digital strategist for their own roster of artists and/or projects. They will craft and execute the digital campaign for those artists spanning promotion, social strategy, community engagement, e-commerce, and partnership opportunities with inter-departmental (marketing, radio, press, product development, etc..) input and coordination. They will continually look for new opportunities, services and platforms with which to partner and/or utilize. In addition to their work directly with artists, they will have a loud voice in forming overall departmental strategy and direction as operational digital specialists. Every campaign will come with mutually agreed upon goals and targets that the marketer will striving to achieve.
Job summary: New York Public Radio seeks a publicist who will work with the Senior Director of Publicity to develop and execute PR strategies and campaigns to reach consumer, trade and online audiences.
Job summary: To direct marketing focus & strategy, product development, label identity and artist relations for assigned RECORDS projects. The product manager will work side by side with the Co-founder- assisting with the execution of marketing strategies and artist development. The ideal candidate has an entrepreneurial outlook and will able to work creative and operational executives across all functions.
Job summary: To thrive in this role, you will love variety, work independently, communicate well and be super organised. Experience of working with digital media within an entertainment, broadcasting or publishing sphere is essential. The right candidate will have ability to oversee complex deals with and have the ability to negotiate and execute new business within a range of exciting new sectors.
Job summary: Reporting to the VP of Marketing, the Director of Public Relations will manage all corporate communications and messaging for Vevo. You will serve as the primary point of contact between the company, its executives and the press community for all Industry and Consumer press.
Job summary: This is an exciting marketing role focused on executing tactics to drive success for the TouchTunes sales team and B2B channel customers. You will work across business groups and leverage multiple marketing channels to drive engagement with the TouchTunes network of smart jukeboxes, mobile app, and other in-venue solutions.
Job summary: Complex Media is looking for a motivated and successful Account Director to join our leading young men’s platform. You will be a part of a top-notch sales team, selling integrated marketing programs across desktop, mobile, video, branded content and print. We have an entrepreneurial culture where you can lead the sales and marketing efforts for your client list. This role is based in our NYC mid-town headquarters.
Job summary: The role of the Digital Media Buyer is a day-to-day focal point and is tasked with executing digital media planning/buying and client service activities associated with assigned accounts. You will be integral in the development and management of effective digital strategy and media buying/. This role will report to the SVP of Digital Marketing.
Job summary: We have a new opportunity available for a Digital Account Manager to drive growth in market share, revenue and artist exposure across digital music platforms. Reporting to the Director of Digital Strategy, the successful candidate will develop sales and marketing strategy and create opportunities to further enhance Universal’s presence across these services.
Job summary: This successful sponsorship sales professional will be responsible for creating and selling branded, high-impact music marketing programs across our music properties.
With the third year of our blog still finding its footing, we thought now would be as good a time as any to introduce our latest guest contributor. Rey Roldan has lead an incredible career in music PR that now spans multiple decades, and in the coming months he will be sharing some of his vast industry knowledge with us through his very own bi-weekly column. Enjoy!
As the pool of publicists gets more and more crowded with journalists and bloggers trying their hand at hacking away at artists’ campaigns, a direct result of this influx is the flooding of inboxes with massive amounts of press releases and pitches. Many of the higher-tiered journalists can get pummeled with over 500 pitches a day – some even more than that! Each morning, writers, bloggers, producers and editors weed out their emails, deleting hundreds of them without even knowing exactly what the pitches are selling.
So how does a publicist cut through the clutter and get a journalists’ attention?
“Well, I think it’s a fairly simple answer: if you can’t make a really compelling case in the first paragraph, chances are, your press release or pitch will either go unnoticed, or will simply get deleted,” answers Regina Joskow, Director of Publicity for the Rounder Label Group. “It’s kind of like an audition when a performer gets to sing 16 bars, and that’s what determines whether they get a call-back or not. These days, people are inundated from all sides with email messages, text messages, social media posts and messages, instant messages – it’s completely overwhelming. People’s attention spans aren’t what they used to be.”
And she’s right. The secret to getting a journalist’s attention isn’t flooding them with information, bio material and too much text that they didn’t ask for… It’s about getting right to the point. An old editor friend of mine, Gus Pena of the amazing but unfortunately now defunct Chord Magazine, once said, “It’s about the first three lines. If I don’t know what your point is by then, you’ve already lost me.”
“To me, the first paragraph is very crucial,” agrees Gil Macias, Editorial Coordinator atPlayboy and contributing editor of Inked Magazine. “An accurate description of the band’s sound makes or breaks whether or not I want to listen to something…. and comparing the band or musician to other bands that sound similar also peaks my interest.”
“For me, the first line of a press release is very important,” says Lori Majewski, longtime music editor, writer, and author of Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s. “If I don’t read anything there that appeals to me, I’m not going to go any further.”
While it’s always nice to start off with a pleasant “Lovely day, innit” type of greeting, being rather direct can save everyone a lot of time. “The first paragraph is mission critical in my opinion, this stems from my journalism training,” explains Heather West of Western Publicity. “Writers sometimes want to get ‘creative’ and bury their lede in a morass of descriptors that obscure the key elements, which are who, what, when, where and why. Journalists, in my experience, find this irritating. So it’s best to get right to the point.”
Some journalists might be so busy that if they don’t like what they immediately see, they might not even get to the first line of your pitch. “Actually, even more important than the first line of a press release is the subject line of the email,” adds Majewski. “Journalists are inundated with so many emails daily, you have to stand out somehow, someway, or it never even being opened.”
“I read every press release I get, and as important as the subject line is, the opening paragraph is equally – if not more – important,” counters Chuck Armstrong, Editor-in-Chief of Diffuser. “I want the story. I want to know why this band or this song or this video is important to me and, potentially, to our readers. If you can sum that up in the beginning, you have my attention.”
So it boils down to subject line and the first three sentences… Capturing your audience’s attention lies within a short window of words and can turn a writer’s apathy into intrigue that forces them to read your pitches. Armstrong adds the parting shot, “The only time I don’t open an email is if it’s from Rey Roldan. I delete that shit before it infects my computer with his well-known publicity viruses.” #shotsfired
Our friends at Fixt are in need of a driven, full-time publicist to join their growing team. We have been friendlu with this company for many years and know them to be some of the finest individuals in the entire music business. Read the job description below and, if you think you have what it takes, follow the link at the end of this post to submit an application. You can tell them Haulix sent you.
FiXT Publicity is looking to hire a new Full-Time Rock/Metal/Alternative Music focused Publicist in our Burlington, Iowa office.
The ideal candidate for this position will be motivated to become an active part of the team to accelerate company growth, contribute to the continued expansion of the company and client roster, be extremely organized, and should be capable of multitasking and handling multiple deadlines simultaneously. Candidate should have 3+ years of experience as a music publicist with a portfolio of proven accomplishments and a strong work ethic.
Job Duties: • Writing and Sending Press Releases • Handling Artist & Client Relations • Taking Audio/Video Calls with Clients • Researching New Artists / Press Outlets / Partners, etc… • Working with Key Press Contacts to Pitch and Solicit for Features, Reviews, Exclusives, Premiers, Interviews, etc… • Handling an ongoing Client-Roster as well as one-off Campaigns. • Assisting other Team Members with other Campaigns
Requirements: • Must be willing to relocate to our Burlington, Iowa headquarters. • Alternative/Rock/Metal Music Press Knowledge/Experience (Specifically ‘Warped Tour’ related) • Mac OS X Experience • Microsoft Word/Excel Experience • Detail Oriented, ability to prioritize work and work accurately under pressure of deadlines with frequent interruptions and changing priorities. • Must be an effective communicator, dealing with management, artists, customers, partners, etc… • Ability to keep up with fast-paced workflow • Must display Persistence and follow through to achieve goals.
Preferred: Existing Roster to bring with you Marketing / Promotions Experience Existing Music Retailer Relationships (iTunes, Beatport, Amazon, Spotify, etc…) Basecamp Project Management Software Experience (or similar) Creative professional in a Advertising/Marketing Agency
